Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c5.28

c5.28

tically alike,—like ‘copies’ of a stereotype, or the repetitions of a gramophone. The actual form varies, according to the mood, or skill of the singer, or the response of the audience, though adhering to the main outline of the types, —so as not to call up the mental picture (*tasbīr*) of any other rāga, however, closely related. In order to keep to this identity of pattern, or mould, it is necessary to avoid notes, which will alter the individuality of the ‘picture,’ the peculiarity of the physiognomy, or in other words, will introduce dissonance, or a jarring feeling. This dissonant note to be avoided, is, as we know, the *vivādī* (the inimical note). *Saṃvādī* is, on the other hand, the consonant note. While the *anuvādī* (assonant, or subservient) note stands for all other notes which are not *vādī*, *saṃvādī*, or *vivādī*.¹